The identification of the author of St. Sebastian's painting in the Brukenthal European Art Gallery (inv. PI. 1202) varied from Jacopo Tintoretto to the Venetian School, then from Guido Reni to Ludovico Carracci. This painting proves to reproduce the first version of the Martyrdom of St. Sebastian painted by Titian before 1520 (version currently considered lost). From that year 1520 date a few preparatory drawings for the final panel depicting St. Sebastian, part of the Polyptych of Resurrection (also known as Averoldi Altar, in honour of the donor). The Altar was designed to be placed in the Church of Santi Nazzaro e Celso in Brescia, and was dated and signed by Titian in 1522. There are obvious concordances, and some differences between the first version of St. Sebastian - revealed by documentary description -, and his representation on the final panel of the altar in Brescia, aspects that we will be examining in the present study in relation to the St. Sebastian painting from Sibiu.